Film Reviews by TE

A decent enough tale of extreme corruption in the Egyptian police and security forces.

Set against the background of the 2011 Egyptian Revolution it becomes easy to see why that movement failed to achieve any of its progressive aims. With so much corruption within the state itself a whole new political party would have been necessary. Instead the Muslim Brotherhood took over from Mubarak and proceeded to go too far with their own agenda before being kicked out in favour of the present ruler el-Sisi, who seems reminiscent of the Mubarak regime.

Dramatically the film could do with more explanation as to why the hero cop decides to play straight for a change. It's presumably linked to the early scene with his father, but there is no development of that aspect.

In its favour, the film has a real flavour of Cairo and gives an insight into events that exceeds the usual sources.

Only the unique charisma of Juliette Binoche could carry this film, and even that is not enough.

This is a world of self-obsessed, wealthy, cultured Parisians going through mid-life relationship angst, and there is no wit or lightness of touch to make it interesting. This must be Claire Denis's worst film, a real departure from her usual high standards. Maybe Eric Rohmer could have pulled this story off, but not with such a turgid script.

The final sequence, where Binoche consults a mysterious relationship counsellor (played by Gerard Depardieu in an easy little 'earner' cameo) brings the whole thing to a lame ending.

This might have made a decent tv series and box-set, but in this form it all feels rushed and bitty.

Big corners are cut and scenes jump ahead before any real character depth can be established. The only thing that isn't cut is the violence, which is pretty extreme even by current standards. That's not to say the violence is realistic, at several points victims bounce back from lethal wounds like cartoon protagonists.

Hugely powerful story of one young teenager and his passage through the horrors of war.

Packed to the brim with memorable images and facial close-ups that linger long after the scene has moved on. It seems that this was the pinnacle of Klimov's career as a director, but seeing this film makes me want to see more of his work.

Yes, this is about the Nazi ravaging of Belarus, but it is also a timeless and universal exposure of the barbarism of war.

Pablo Larrain here fashions a typically idiosyncratic investigation of the horrors of the Pinochet coup in Chile.

Alfredo Castro plays the enigmatic, po-faced central character who is obsessed by his desire for a woman neighbour whilst the army murders its way to power.

The collusion of some of the civil and professional population is ruthlessly exposed. "If you are not part of the solution then you are part of the problem" seems to be Larrain's theme, a viewpoint supported by the history of the terror inflicted by the Pinochet regime.

At times the film is just a tad too mannered and stylish, but overall this is another fine film by the director of the excellent 'Tony Manero'.

A remarkable satire on the darker aspects of human nature.

It's a film that comes across as rather disjointed in the first sequences, but it gathers pace and power as it goes along. When it ends it pays to go back to the start to appreciate the narrative in the light of what you know by the end (hope that makes sense!).

Ominously relevant to the world right now, sad to say.

Very much Saoirse Ronan's film, and her performance is well pitched and charming enough.

However, pretty much every other aspect of the film is slight and way too whimsical. A big disappointment and full of religious propaganda.

This has been given the label "comedy", but it is far more than that.

Yes, it is indeed an often hilarious adult comedy, but it darkens into a mercilessly honest critique of the porn industry, amongst other targets for a savage satire.

As usual with Ming Liang Tsai every frame is a work of art: colour, symmetry and originality of vision rule.

Simply a great film, full of challenging ideas and sparky contrasts.

A group of German workers are hired to carry out a drainage project in rural Bulgaria during a hot summer.

This intelligently directed film tells a good story whilst also touching on contemporary issues, such as gender stereotyping and communication between people of different nationality and language.

There is an honest portrayal of the dangers of nationalism, and the threat of violence is never far from the surface, but the overall 'feel' is for the tolerance and humane warmth that is also possible.

It seems amazing to see how this gently erotic and summery film has polarised opinions.

The slow build-up pays dividends in the end, especially in the wonderful words of the father to his heartbroken son.

The presentation of the dynamics between the teenager and his older lover is subtle and credible. However, I was left wondering quite what point Chalamet is making about gay relationships: the older man marries a woman and the apparently tolerant parents of the teenager make sure that they hire a female assistant for the following summer.

This is a beautifully filmed, highly authentic account of the role of 'witchcraft' in Zambia.

The film shows how corrupt officials and tribal power brokers take advantage of the continued existence of such abhorrent superstitions.

The young girl's story is horribly tragic and many of the images endure like a recurrent bad dream, a testimony to the director's skill and vision.

Excellent tale which asks difficult questions about how our society deals with issues such as disability and sexual desire.

The entire cast do a brilliant job. The overall tone is humorous, but there is also an ominous sense of things spiralling out of control.

If anything, the director tries to pack in one or two too many sub-plots and it all becomes a bit baggy.

However, the final feeling is of life-affirming resilience, plus an urge to make things better.

Seeing this film and 'I Don't Want To Sleep Alone' has refreshed my interest in the possibilities of film.

The lingering takes and the sheer beauty of the camera angles make for a fascinating, addictive viewing experience. Some "slow cinema" is tough to watch, often because of the monumental length of the films, but Tsai Ming-Liang pitches everything just right. He explores the boundaries between still photography and film with effortless ease, and his storytelling powers are at their peak here.

Tsai says that this is his last full length film. I hope he changes his mind!

"The World" amusement park is a wonderful setting for this very humane narrative, and Zhang Ke Jia exploits the possibilities with confident grace.

The film manages a delicate balance between characterisation and visual beauty, and the acting is spot on throughout. This is the work of a master of his craft.

This classic from the early days of the Cuban Revolution crackles with energy and an urgent sense of a key moment in history.

Unsurprisingly it comes across as somewhat dated now, particularly in its gender politics.

The central character is something of a blank page, not one of the right wingers who flee to the USA, but also not a participant in the Castro revolution.

This leaves the film in a curious state of ambivalence.